Shure PGA52, PGA56, PGA57 User Manual

WIRED MICROPHONE

PGA DRUM MICROPHONE KIT
USER GUIDE

© 2015 Shure Incorporated
27A24483 (Rev. 2)
Printed in U.S.A.

PG Alta™ Drum Microphone Kit

PG Alta Microphones

Congratulations on the purchase of a new Shure PG Alta series microphone. The PG Alta series delivers professional quality audio at
an affordable price, with solutions for capturing nearly any source, including voice, acoustic instruments, drums, and amplified electric
instruments. Suitable for live and studio applications, PG Alta microphones are built to last, and meet the same rigorous quality testing
standards that make all Shure products trustworthy and reliable.

Drum Kit Bundle Variations

4-Piece Kit

(PGADRUMKIT4)

• PGA52 kick drum microphone

• PGA57 snare drum microphone

• (2) PGA56 drum microphones

• (2) AP56DM mount

5-Piece Kit

(PGADRUMKIT5)

• PGA52 kick drum microphone

• PGA57 snare drum microphone

• (3) PGA56 drum microphones

• (3) AP56DM mount

6-Piece Kit

(PGADRUMKIT6)

• PGA52 kick drum microphone

• PGA57 snare drum microphone

• (2) PGA56 drum microphones

• (2) PGA81 overhead condenser microphones

• (2) AP56DM mount

7-Piece Kit

(PGADRUMKIT7)

• PGA52 kick drum microphone

• PGA57 snare drum microphone

• (3) PGA56 drum microphones

• (2) PGA81 overhead condenser microphones

• (3) AP56DM mount

Note: Availability of specific bundles varies by region. Contact
your local Shure distributor for details.

3

MONITOR

P.A. LOUDSPEAKER

Setting up Drum Microphones

①

②

④

③

X-Y position

Spaced pair position

Before you begin, review these fundamental concepts to get the
best possible results:

Tuning: Before recording a drum kit, make sure the drums are
tuned. A well-tuned kit significantly improves the sound quality for
recording and live sound reinforcement. It also makes mixing and
signal processing easier, faster, and more effective.

Placement: Use the proximity effect to your advantage when
increased bass is desired. Small changes in microphone
placement (distance and angle) strongly impact the sound
characteristics. If time permits, experiment with various
microphone positions to achieve the preferred sound.

④ Overheads (PGA81)

Overhead microphones capture cymbals and an overall
stereo image of the drums. Refer to the stereo microphone
techniques section for details.

Overhead microphone tips:

- Pan one microphone to the left and the other to the right on
a mixer or in recording software to create a stereo image

- The farther the left and right signals are panned, the wider
it will sound

- Overheads can be panned from the audience or drummer's
perspective, depending on preference. Pan the toms to
match the overhead panning for an accurate stereo sound.

- Other stereo drum recording techniques to learn about
include the Glyn Johns method, Recorderman, and
Mid-Side.

- Additional information on recording drums and microphone
techniques is available at shure.com

Proximity Effect

Directional microphones progressively boost bass frequencies as
the microphone is placed in closer proximity to the source. This
phenomenon, known as proximity effect, can be used to create a
warmer, more powerful sound.

Avoiding Pickup of Unwanted Sound
Sources

Place the microphone so that unwanted sound sources, such as
monitors and loudspeakers, are directly behind it. To minimize
feedback and ensure optimum rejection of unwanted sound,
always test microphone placement before a performance.

① Kick (PGA52)

- Place the microphone in front of the resonant kick drum

- If there is a hole in the head, place the microphone inside

- To reduce the sustain and overtones for a focused attack,

② Snare (PGA57)

- Place the microphone 1-4 inches above the drum, near the

- Point towards the center of the head to capture more stick

- Aim the microphone with the rear side pointed towards the

③ Toms (PGA56)

- Place the microphone 1-4 inches above the drum, near the

- Use the included AP56DM drum mounts to attach the

- Point towards the center of the head for a deeper sound, or

4

head.

for better isolation. Removing the resonant head and
placing the microphone closer the beater head provides
increased attack.

try using a pillow inside the kick drum.

rim.

attack, or closer the edge to capture more overtones.

hi-hat to reduce the amount of cymbal in the snare drum
signal.

rim.

PGA56 onto the drum. The microphone can also be
mounted on a standard 5/8" microphone stand.

closer the edge to capture more overtones.

Recommended Loudspeaker Locations for Cardioid

Microphones

Phantom Power

All condenser microphones require phantom power to operate.
This microphone performs best with a 48 V DC supply (IEC-

61938), but it can operate with lower voltages.

Phantom power is provided by the mixer or audio interface
that the microphone is connected to, and requires the use of a
balanced microphone cable: XLR-to-XLR or XLR-to-TRS. In
most cases, there is a switch or button to activate the phantom
power. See the user guide for the mixer or interface for additional
information.

NOTE: Applies to PGA81 condenser microphones only.
Supplying phantom power to the other included microphones will
not cause damage.

Microphone Techniques for Stereo

90ɴ120ɴ

110ɴ

17 cm

(6.7 in.)

1-3 m

(3-10 ft)

3

Recording

Stereo recording using two microphones adds realism by
capturing sound similar to the way that humans hear. Panning
(directing the signals left and right) adds width and directionality
when listening on stereo systems or headphones.

Tip: Panning the signals farther apart increases stereo separation
and width. Be careful of panning too far, as it may result in a
hollow sound in the middle of the stereo field.

① X-Y Coincident Pair

The X-Y technique provides
excellent phase coherency
because sound arrives
simultaneously at both
microphones.

Placement: Set up the
microphones with the
capsules close together, but
not touching. Experiment
with angles between 90 and
120 degrees to capture the
full width of the source.

② ORTF

Developed as a French
broadcasting standard,
ORTF technique replicates
the spacing and angle of
human ears. It provides a
natural, wide sound.

Placement: Angle the
microphones at 110°, with
the capsules 17 cm apart.

Using the Quick-Release Lever

PGA56 and PGA52 microphones feature a quick-release lever to
easily adjust position.

1. Pull the lever open

2. Move the microphone into the desired position

3. Press the lever back towards the microphone to tighten

Pictured is the PGA56.

1

3

2

③ A/B Spaced Pair

Spaced pair recording can
deliver a dramatic stereo
effect because sound
arrives at each microphone
at a slightly different time,
providing the listener with
timing cues that localize
sounds.

Note:

For drum overheads, the snare drum should be equidistant
from each microphone to achieve a tight, focused sound. Use
a measuring tape or piece of string to verify this distance.

Note: To adjust the tension on the lever, pull it open and use a
flat head screwdriver to tighten or loosen the bolt on the opposite
side.

5

Optional Accessories and

60 cm (2 ft.)

10 cm (4 in.)

1000 Hz

Replacement Parts

Specifications

Microphone Clip for SM58, SM57, SM87A,

A25D
Beta 87A, Beta 87C, PGA57, PGA58, PGA48,
PGA81

Black Foam Windscreen for PGA81, SM94

A3WS
and SM137

7.6 m (25 ft.) Cable (XLR-XLR) C25J

5/8” to 3/8” Thread Adapter 31A1856

Vinyl zippered storage bag 95B2324

Drum Microphone Mount AP56DM

Grille RPM154

PGA57 Replacement Grille RPM152

PGA56 Replacement Grille RPM152

Certifications

This product meets the Essential Requirements of all relevant
European directives and is eligible for CE marking.

The CE Declaration of Conformity can be obtained from: www.
shure.com/europe/compliance

Authorized European representative:
Shure Europe GmbH
Headquarters Europe, Middle East & Africa
Department: EMEA Approval
Jakob-Dieffenbacher-Str. 12
75031 Eppingen, Germany
Phone: [phone]
Fax: [phone]
Email: [e-mail]

PGA52

Type

Dynamic (moving coil)

Frequency Response

50 to 12,000 Hz

Polar Pattern

Cardioid

Output Impedance

150 Ω

Sensitivity

at 1 kHz, open circuit voltage

-55 dBV/Pa¹ (1.75 mV)

Polarity

Positive pressure on diaphragm produces positive voltage on pin 2 with
respect to pin 3

Weight

454 g (16.01oz.)

Connector

Three-pin professional audio (XLR), male

Environmental Conditions

Operating Temperature -20° to 165°F (-29° to 74°C)

Relative Humidity 0 to 95%

1 Pa=94 dB SPL

Typical Frequency Response

6

Typical Polar Pattern

PGA56

60 cm (2 ft.)

10 cm (4 in.)

1000 Hz

60 cm (2 ft.)

1000 Hz

Type

Dynamic (moving coil)

Frequency Response

50 to 15,000 Hz

Polar Pattern

Cardioid

Output Impedance

200 Ω

Sensitivity

at 1 kHz, open circuit voltage

-57 dBV/Pa¹ (1.45 mV)

Polarity

Positive pressure on diaphragm produces positive voltage on pin 2 with
respect to pin 3

Weight

287 g (10.12oz.)

Connector

Three-pin professional audio (XLR), male

Environmental Conditions

Operating Temperature -20° to 165°F (-29° to 74°C)

Relative Humidity 0 to 95%

1 Pa=94 dB SPL

PGA57

Type

Dynamic (moving coil)

Frequency Response

50 to 15,000 Hz

Polar Pattern

Cardioid

Output Impedance

150 Ω

Sensitivity

at 1 kHz, open circuit voltage

-56.5 dBV/Pa¹ (1.5 mV)

Polarity

Positive pressure on diaphragm produces positive voltage on pin 2 with
respect to pin 3

Weight

280 g (9.88oz.)

Connector

Three-pin professional audio (XLR), male

Environmental Conditions

Operating Temperature -20° to 165°F (-29° to 74°C)

Relative Humidity 0 to 95%

1 Pa=94 dB SPL

Typical Frequency Response

Typical Polar Pattern

Typical Frequency Response

Typical Polar Pattern

7

PGA81

60 cm (2 ft.)

1000 Hz

Type

Electret Condenser

Polar Pattern

Cardioid

Frequency Response

40 to 18,000 Hz

Output Impedance

at 1 kHz, open circuit voltage

600 Ω

Sensitivity

at 1 kHz, open circuit voltage

-48.5 dBV/Pa[1] (3.8 mV)

Maximum SPL

1 kHz at 1% THD, 1 kΩ load, typical

129.5 dB SPL

Polarity

Positive pressure on diaphragm produces positive voltage on pin 2 with
respect to pin 3

Connector

Three-pin professional audio (XLR), male

Weight

186 g (0.4 lbs)

Housing

Cast Zinc

Power Requirements

48 V DC phantom power (2.0 mA)

[1] 1 Pa=94 dB SPL

Frequency Response

Polar Pattern

8

108 mm (4.26 in.)

67.0 mm diameter
(2.64 in.)

44.5 mm diameter
(1.75 in.)

93 mm (3.66 in.)

131.1 mm (5.2 in.)

27.80 mm
(1.09 in.)

48.5 mm diameter
(1.91 in.)

164 mm (6.46 in.)

24.6 mm

(0.9 in.)